


Elemental Duran Duran: Songwriting and Style, Pt. IV

by yourlibrarian



Series: Music Reviews [4]
Category: Duran Duran
Genre: 2000s, Gen, Meta, Nonfiction, Reviews, Songwriting
Language: English
Status: Completed
Published: 2020-03-20
Updated: 2020-03-20
Packaged: 2021-03-01 00:35:34
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 7,789
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/23216365
Author URL: https://archiveofourown.org/users/yourlibrarian/pseuds/yourlibrarian
Summary: Reviews of albums written at the time of release, from 1996-1999.
Series: Music Reviews [4]
Series URL: https://archiveofourown.org/series/1668115
Comments: 4
Kudos: 2
Collections: March Meta Matters Challenge





	Elemental Duran Duran: Songwriting and Style, Pt. IV

The one thing that _Thank You_ conclusively proved is that Duran Duran can not handle success. No sooner do they achieve it than they begin making decisions that land them in worse positions than ever before. Failing to hang on to the coattails of their previous album, they made poor single choices, failed to adequately promote the album, and seem to have fallen into such complete disarray that it's debatable whether the group exists as anything but a concept. Despite talk of a nearly completed _Medazzaland_ , the group splintered into solo projects not two years after le Bon said (while promoting the Wedding Album) "beware of solo projects." 

Struggling with a failing marriage, drug addiction, as well as (it would seem) a lifelong problem of mood swings, Taylor recorded Feelings Are Good, and Other Lies with L.A. cronies. The result was surprising. While hardly a musical milestone, as a Duran-related project it was nothing short of stunning. Turned out quickly, his packaging certainly aimed to put across a certain rawness. The writing certainly demonstrates it. The tunes definitely do -- in the sense that half of them seem badly unfinished. But the interesting thing is that the album is much more a tribute album than the over-fussed _Thank You_ was. Sounding like a flashback to the 80s club scene (with a few other influences thrown in), there are some seductively deja vu tracks on it. What he could have used was a Nick or Warren in the studio, insisting on more work where it was needed. Still, with a few solid tracks, and a few somewhat passable ones, the result was better than, say, Andy Taylor's Thunder . 

1) **"Feelings Are Good":** A good title song. Although the lyrics are stark and could fall flat, it's Taylor's rendition that saves them. The melody is very reminiscent of mid-80s alternative rock, so much so that I can almost put my finger on who it makes me think of. What makes this song pleasing is the time warp it creates. It takes you straight to a Southern California club scene or pirate radio, much like that pictured in the Christian Slater film, Pump Up the Volume. Of course, Taylor's use of these riffs and voice effects at least ten years after the fact make this less than progressive, but it is enjoyable and a pleasant surprise.

2) **"Don't Talk Much":** The writing is revealing and poignant. How couldn't anyone be struck by the opening lines? The melody goes along great but one wishes they had killed the speaker effect. It detracts from the song, and robs the track of some of the emotional singing that gives it the best punch. It's a good mate to the opening track. Too bad the rest of the album couldn't have been this good.

3) **"2:03":** The lyrics are about as flat as one can get without veering right into stupidity, but the KROQ flavor is strong. Unfortunately, the drive in the song could use something more to make it anything but a punctuation mark on the album.

4) **"Everyone is Getting It But Me":** Although the title seems obvious, you do wonder if he means that the world in general baffles him. David Bowie anyone? Nothing Duran had ever done sounded quite as much like Bowie as this one, particularly in its chorus. It's also the jauntiest and most likable of Taylor's tunes. Maybe that's because this song actually has a good melody line. Of the various nostalgia trips this album inspires, this one is the most fun. Maybe that's because Taylor himself is being nostalgic in it, and can pull himself out of his deep funk for a while. Was he more fun as a teenager?

5) **"Always Wrong":** He's said more than once that women are always right in an argument, but one could see why with this song! It's not one of the better tunes, and his lyrics repeat the desperate theme of holding things together while seeing the alternative as death.

6) **"Look Homeward Angel":** This song sounds rather like Tom Petty, especially in the third verse. The melody is particularly badly thought out. About halfway through, the song it starts to sound like a really bad teenage composition.

7) **"Losing You":** About the only song that could be called a ballad, this song is refreshing for that reason alone. It's not bad, either in melody or lyrics. There's some familiarity here, too, but I can't pick it out. There's a hint of the Riviera somewhere. 

8) **"See You Again":** This has a very early 80s KROQ sound. It has some good melodic points such as the chorus line but it's not rounded out.

9) **"Down Again":** One of the better tracks. It has a definite late 70s feel, on the melodic side of punk. What also gives it some kick are the lyrics. The second verse is particularly revealing, showing a man stumbling through his 30s still completely unaware of why he feels so unsatisfied. Coming from someone who has had so many more opportunities and experiences in life than the average person, this seems particularly tragic. The "I can not be of much use to you" line reminds one of the Waitresses' "I Know What Boys Like."

10) **"Girl Raw":** The lyrics are interesting, showing what seems to be a pattern in his relationships, but the melody doesn't contribute anything. One wonders if he realizes his own undeserving feelings are what leads to the spiraling destruction of the very thing he craves.

11) **"Hole in the Mud":** The melody is awful. The beginning sounds as if he's singing through mud. Only John Lennon could pull off lyrics this dumb. 

12) **Trust the Process":** What is it with death? For someone in his mid-30s, Taylor seems to find death a looming alternative and a near companion. Perhaps for someone who lives to such excess, that's what it is. Unfortunately, this song is also dying. There's not much melody, which is too bad. The lyrics are ok and Taylor manages to give them meaning the way he sings them, but songs need both music AND lyrics.

13) **"Moon Over Atlanta.":** With such a long stretch of silence, this song could be completely overlooked. It wouldn't be a loss. Although a cute idea, this song is too harsh to really be a child's ballad, but it isn't mature enough to really appeal to adults. The lyrics are ok, and with some work it might even be nice, but Taylor's vocals are pretty poor.




With a Power Station album recorded but unreleased, a Warren and Nick studio project due, and leBon apparently AWOL, Taylor headed out on club dates. The best thing that could be said about Duran's future is that it was impossible to predict at this point. The revival that many fans had hoped and worked for had come and gone, and it seemed beside the point to make any further effort on its behalf. 

But careers tend to continue unless death, retirement, or a change of profession step in. The Power Station album was finally released overseas and supported by a tour. Abandoned by John Taylor before completion, it is ironic that the band never once played a concert date with their complete line-up. While Palmer, Andy Taylor and Tony Thompson continued on, the shows were heavy on album one and Robert Palmer's solo hits. The new tracks, with one exception, were not much of a standout. Andy Taylor looked rather the worse for wear and the band toured with an additional guitarist. Still, the lure of hearing what Power Station would sound like after a very full ten years, was Simply Irresistible.

1) **"Notoriety" :** Is a great song, at least as good as anything the band did on album one. Of course, this is probably because it sounds like a Robert Palmer tune. Palmer's vocals are so distinctive that just about any song he does makes it a 'Robert Palmer tune', which is very obvious if you look at the back-to-back releases of _33 1/3_ and _Riptide_. But the melodic style is similar to "Remember to Remember" and would easily fit into any greatest hits package of his. Uptempo, smooth and soaring, the song was a concert standout that got the room swinging.

2) **"Scared":** Palmer's opening vocals sound amazingly like George Harrisson. Of course, the similarity soon vanishes. Lyrically ok, the song's title line has a nice drawl to it but it wanders and drones otherwise. Palmer's considerable vocal talents fail to get it anywhere.

3) **"She Can Rock It":** Palmer is good at doing songs that show off an aggressive libido. His lyrics here can rank right beside tunes such as "Simply Irresistible", "You're Gonna Get What's Coming" and "You're Mine." If you're in that sort of mood this song might go over well, but the melody doesn't have much to recommend it, unlike the other tunes mentioned. 

4) **"Power Trippin":** This song starts well with the intro hook, but goes downhill from there. They should have stuck with more horns, as they are the best part of this song. The lyrics are fun, but the song is inconsistent. Vaguely reminiscent of the upbeat style of Sly and the Family Stone in its best moment, it then veers off into guitar solo bits that don't blend well. In fact, it can be said without doubt that the need to give Andy Taylor his spotlight ruins the tracks more than anything else.

5) **"Life Forces":** This song picks up some of the Latin rhythms that Palmer is so fond of and which are one of the hallmarks of his musical releases. It's the album's most boring lyrical effort, but having a song that doesn't scream at you in its guitar parts, or jump around from grunge harshness to melodic flow, is a plus. 

6) **"Fancy That":** The album gives writing credit to the whole Power Station team, but John Taylor apparently bowed out before actually laying down any tracks. It's understandable why he said that going to Power Station after leaving Duran was like returning to an old girlfriend when what you really need is a life overhaul. (Considering his actions in 1985 that was true in more ways than one). But musically it wasn't apt. The music on this album is diverse and certainly different than in 1985. Considering where his own solo inclinations were headed, you can see why this might have failed to snare him. The smooth line of this song is very Chic inspired and has a late 70s appeal.

7) **"Living in Fear":** Fast forwarding in time to 90s grunge, this song is like a change of radio stations after the last track. Saying it doesn't have a melody would be untrue, but the song is so blaring and hard-edged it's difficult to appreciate. The lyrics, Palmer did not have to explain, are the only "real" ones on the album. You can tell they're heartfelt, and in that respect the music matches, but it's unpleasant.

8) **"Shut Up":** Driving, but less deep-in-your-eardrum, this song varies enough and moves quickly enough that it's more listenable than its predecessor. But it doesn't offer a lot to the audience, especially lyrically.

9) **"Dope":** Although one assumes Palmer wrote these lyrics, it's interesting that such a song appears on the album. Hard drinkers and night lifers, the members of this band seem an odd bunch to be making drug commentary, but the writing of the album would have coincided with John Taylor's ending drug spiral. The song's lyrics are great but the melody doesn't offer much more than the great hook line, "Dope is what dopers do." 

10) **"Love Conquers All":** One also wonders if this song had anything to do with Taylor. But other than that, it's uninteresting lyrically. It's a blues club song for sure. Like any Palmer album, the songs hit one musical style after another, when they're not blending together. But they run all over the place in this album. On the first Power Station album, there was a coherent sound to the band. On this one, that thread is absent. While you could say there's something for everyone here, that also makes it a weak album. The best ones have a musical theme that takes you from one song to the next and tell you things at the same time. This album certainly has no lyrical theme, and the musical style jumps make it totally incoherent. 

11) **"Taxman":** From the eastern trill at the start (homage to Harrisson?) this song has a little playful lilt. It's a nice cover, updated with names to give it a personal stab. It's a good placement, too, so that the album opens and closes with its strongest songs. Starting with Palmer and ending with the Beatles, one thing can be said about its incoherent musical styles. Much more so than in 1985, this 1995-97 Power Station is truly a group of guys getting together for the sheer pleasure of playing clubs with anything that appeals to them. Like Duran's _Thank You_ that preceded it, this was yet another nostalgic farewell for Taylor. He moved on, but it remained to see how the rest of the band set out fresh. 




_Medazzaland_ made its appearance at long last in October of 1997 with just le Bon, Rhodes, and Cuccurullo remaining. The split was said to be amicable. Perhaps after reconciling over the original split years earlier, the band members saw little point to hostilities at the latest departure. It also had a sense of inevitability to it -- Taylor's previous near departure in 1985 might truly have put an end to the group. But Cucurullo's growing role during the eleven following years, (which he had to keep reminding interviewers had really been that long), made a dissolution in '97 seem less likely. If anything, he had stepped into John's role of motivator years before, far more immersed in the band's music than any of the other trio had ever been.

The long delays between albums (something only seen after _Big Thing_ ) and stories of the band members wandering off on different interests, gave a real sense of decline to the band's unity. One could say getting together with the Neurotic Boy Outsiders was just John Taylor following Andy Taylor's previous moves. But after personal and professional divorces and a stint in rehab, it was as far outside the boundaries as John Taylor could go. There was no doubt the music was radically different.

Accompanied by some good promotional efforts and even some positive reviews, "Electric Barbarella" started to get picked up by radio stations across the country. With a video apparently liked even less by MTV than "Girls on Film" (the music wasn't the only rerun being pushed) the band started getting a little attention. It was, though, the height of irony when le Bon was faced with an interviewer's suggestion that the band was jumping on the techno-funk bandwagon with the single "We invented that sound," le Bon testily replied, with good reason. While it was true that the 80s were coming back, (witness the Foo Fighters' hit single sounding very much like English Beat/General Public), the notion that the press would put such an absurd label on the band was a demonstration of how useless the press has become. What the band was guilty of, was surviving long enough to sound like itself.

136) **"Medazzaland":** Neat little tune. Of course, it helps to know what Nick Rhodes was thinking of when he wrote it. (It would help to know that about a number of tunes.) But the sensation of being put under anesthesia comes through fairly clearly. It is a novel thing to hear Rhodes speak the voice over, but his voice has that flat mechanical quality le Bon would probably have been unable to duplicate. It suits the song well. The tune's Eastern-disco flavor is interesting and probably among the best melodies on the album. While it makes for an unusual opener, it is still one of the album's stronger tracks. There is a wonderful heavy bass line up front that gets you right in the mood.

137) **"Big Bang Generation":** The song's opening musical line isn't very good, but once le Bon slips into the chorus the song gets its hook in and sticks. There is an early Bowie-"Space Oddity" feel to this for some reason, but there's no doubt Bowie would have done it differently. The "Big Bang Generation" is also a little early for this group, although the theory was agreed upon in the cosmology community rather recently. This is one of the album's standout tracks, a good follow-up to the title track, and as part of the opening trilogy, moves us up in time.

138) **"Electric Barbarella":** If the opening track seemed sixtyish in its eeriness and Eastern overtones, and “Big Bang” seemed 70s Bowie, this song's opening synthesizer line is SO 1981 Duran that it would fit right into their debut album alongside the similar "Planet Earth." (Hmm, do we see a similarity in "Big Bang"'s title?) Of course, the topic of the song is something le Bon would never have sung about so openly 22 years ago, although Bryan Ferry and Roxy Music had beat him to it anyway. It's also worth saying that their debut album showed a strength they haven't equaled since those early days, and as such this was a perfect song to pick for a first single. This is a solid song, vocally, lyrically, and especially melody/rhythmwise. The unfortunate thing is that it can't rank among their top songs because it is so derivative. The other songs were great because they were either new for the time or a departure for the band. 

139) **"Out of My Mind":** First released on "The Saint" soundtrack, it's a good song but you can't help thinking that this is what they'd write if they had to do a Bond theme all over again. Sensuous, a touch mysterious, it has Bond written all over it. It does show le Bon's growth as a writer, making much more sense than he ever used to. His vocals are much the same though, even "oy"ing a bit for old time's sake. Smooth and easy, it's a good track but you can't help thinking that "The Saint" is all Duran is likely to be asked to write for these days.

140) **"Who Do You Think You Are?":** Dull and ponderous, this song sounds like it could have been an "also ran" for "Thank You." In fact, one wonders if this was one of the first "Medazzaland" tracks since it was said the album was written concurrently with the recording of the cover album. It's hard to pay attention to le Bon's writing when the music swerves between putting you to sleep and annoying you with its bombast. Also, with all that space on the CD's booklet pages, couldn't we have had some lyrics -- even if they were handwritten and crossed out like John Taylor's? Le Bon gives a nice punch line at the end of the song, but how many people are listening by then?

141) **"Silva Halo.":** In past days this might have stayed an instrumental. It has that feel -- something of a "Tel Aviv" -- music with mood vocals. It has nothing redeeming about it, though. A bit of synthesizer fluff, and some aimless le Bon lyrics to go with it.

142) **"Be My Icon.":** The lyrics start out somewhat interesting. You think for a bit that le Bon is really going to give some insight into some of their fans' more extreme behavior. But neither his lyrics nor the melody deliver. His vocals are interesting and go with the tune, but there's no hook to the melody and its harshness grates. Nevertheless the writing and vocals give the song at least a minimal interest that save it from being a toss-it track.

143) **"Buried in the Sand." :** This song has the same Eastern tone to it that “Medazzaland” shows (whose influence was this?) Apparently the lyrics were written by Nick for the departed John. Perhaps it's the droning tone or the absence of any real feelings, but we don't learn a lot about what must have been a very complicated relationship after some 20+ years of friendship and business. It's a far cry from, say, John Lennon's "How Do You Sleep?" or even Paul McCartney's overly simple but at least connecting tribute after Lennon's death “Here Today”. The song's melody isn't bad given the right lyrics and vocals, but the two don't add up. The writing needed to be bolder, and the melody stronger. This might have been a really dramatic piece. After all, with Taylor's departure this band is not the same in a way that can't be said of any previous lineup shuffle. Insights like those in "Three to Get Ready" show that Taylor was in many ways the driving force of the band. Whatever the failings of his current efforts, he is continuing to take real chances in a way this band is obviously not. Perhaps the very dry tone of this song compared to Taylor's clumsy but palpable angst in tracks like "Feelings Are Good" demonstrates just what the band has really lost.

144) **"Michael, You've Got a Lot to Answer For.":** If anything could make up for the previous tracks, this is it. Duran has never failed to turn out one lovely ballad per album and this is a strong track for "Medazzaland". The odd part is that this song sounds very much like a Crosby, Stills & Nash track. But for a Duran album this is such a departure for them that it sounds almost fresh. It is also just plain pretty. A smooth, lilting melody that le Bon sings in a plain, plaintive manner. If his voice is starting to show its age, it makes the song sound better, giving it the character a rich overdone tone would have glossed over. Well written, well performed, the song is just right.

145) **"Midnight Sun.":** This song starts out well with a pretty trill at the start of the line. Unfortunately it is hard to understand le Bon for all the voice effects and blending of the vocal track with the melody line. The melody doesn't have a lot to it, and the overly somnolent sound doesn't help it. What this song needed was a slightly sharper sound. As it is, it kind of fades into the background. It's too bad because the melody in and of itself is fine, and an effort proves rewarding in some of le Bon's better lyrics. Because of some of the high notes, one suspects all the voice effects were to mask le Bon's faint range, which doesn't do the song any favors. His first verse has a reality to it you don't often get treated to in le Bon lyrics. For a moment, he actually says something many of us can relate to. Because of that and some of the lovely hooks, this song grows on you in a way that makes it a standout on the album.

146) **"So Long Suicide.":** The album wouldn't have suffered for being a little shorter if this song had been left off. The raucous cries of "Hello, I'm alive" certainly wake the song up, but the bobbing between vacuous and grating does nothing for the tune. The song has too uncertain a melody line and isn't gripping enough to really make the listen worthwhile.

147) **"Undergoing Treatment.":** It only takes two listens to have the lilting "Weeee are undergoing treatment" riff to become an earworm. Sounding vaguely like a children's chant, the bobbing melody draws you in and keeps you going. While le Bon's lyrics don't reveal a whole lot, the ending is clever and sharp, with the slamming door following "delusions of grandeur." Bracketing the album with "Medazzaland" and this track was a good move.




What this album has that's new isn't all that good, and what is strong makes you think of days gone by. As a whole that makes this their weakest album ever, even more so than the generally dismal _Seven and the Ragged Tiger_ , which was at the least a departure from albums 1 and 2. Sad as it is to say, it is almost as if after covering others in _Thank You_ the band resorted to covering itself. It's ironic that a true Duran cover album was released at the same time as this one. Duran Duran has never yet put out an album without at least some redeeming tracks, and "Medazzaland" is no exception. But its pleasurable points seem to be fewer than ever. Tracks like "Be My Icon", "Midnight Sun" and "Undergoing" give you hope that the band may yet continue to develop interesting music. But when you glide between "Electric Barbarella" (a title so ironic that the band must have intended to acknowledge the song's stolen aspects) to "Out of My Mind" it's almost as if we are gliding through memory lane, our hosts the sole remnants of a once great band. 

The endless dragging of Duran Duran releases is incredibly obvious when you look at the amount of material released by John Taylor in the interval between his first and second full album releases. An EP, _Auto Didact_ , a live EP of his first tour with Terroristen, and two CDs of prior work, _Meltdown_ and _Resume_ with Jonathan Elias, filled in the gap. In addition, MP3s available on his website and additional tunes done in concert showed there was no shortage of material.

While not a particularly strong album, the contrast between Taylor's first and second album releases is striking. Not only does he have downright good material here, but his lyric writing is improved and he takes more chances in showcasing his vocals. There is still a long walk to go in these last two, but _John Taylor_ is a promising start.

14) **"The Panhandler"** : The best thing about John Taylor's work to date, without a doubt, has been his music writing ability. He can put out a recognizable and even strong melody, if not a variety of catchy musical lines. He likes grunge guitar but he tends to use it sparingly, as in this number. He also can write about issues he feels strongly about -- this shows through in most all his lyrics. Luckily this song also showcases some of his better lyric writing, which is still a weak point, though improving. His vocals continue to be buried in many tracks but are still much clearer than on previous releases. As an opening track this one does fine.

15) **"Air Miles"** : The opening of this song, as with "Panhandler" is interesting, making you wonder what's coming next. The lyrics don't add much to the song, but the music never holds still long enough to lose your interest as it moves from one musical bit to the next. Many of Taylor' songs also move well, having a sense of energy (even when laid back) that keeps the listener going. The song does start getting a bit muddy and stretched out by the end, and it's certainly not single material, but it isn't a low point on the album either.

16) **"Coventry Carol"** : Apparently the desire to include throwaway bits on their records is something ingrained in current and past Duran members.

17) **"Hollow Victory"** : My personal favorite of this record. The beginning is rhythmic and beautiful and the music never falters for a moment. Especially in conjunction with the lyrics there is a plaintiveness to this sound that creates a lovely track. The lyrics have weak spots, but just enough of the writing works to add to the song. His vocals here are barely good enough to pass muster, and he continues to be stretched in most material. It's a good change though that his vocals are given the space they need on the track -- strong or weak, it's better not to bury them. It'll be interesting to watch whether his vocals or lyrics will improve the most, but songs like this show that if he stayed with instrumentals alone he would already have a good album.

18) **"To Do You (John Lennon Says)"** : The openings of all of Taylor's songs tend to be some of the best parts of the songs. If nothing else, this points strongly to his pop instincts -- burn from the very first line, and hope you continue to do so through the rest of the song. Unfortunately this song doesn't build on its intro. It's not unlistenable, but there is nothing special about it. The break is very Beatles oriented, which given its topic is quite suitable. Ironically, the lyrics don't go very well together with the music, although there are a few nice lines, such as "I'm the one to mend your heart...your slightly fractured, almost broken heart."

19) **"Good Reason to **** Me"** : Given his dodgy vocals and often worse lyric writing, one of the only things you can give Taylor is that he certainly throws himself into the songs, giving all he can with what he's got vocally. It seems a shame it's so often inadequate. Especially at the chorus' end, the passion he pours into the song almost makes it worth listening to. Unfortunately the song drones too much, and the lack of a particularly adept vocal track loses the listener before too long.

20) **"She's Not There"** : The addition of a cover tune is not only a pleasant addition in this arrangement, which is every bit as good as the original, but it also gives you a chance to see Taylor as a vocal performer alone. He doesn't have much of a range but if he can stay within it, he can do ok. It also shows that his lyric writing is probably more important than his vocals. More than one famous singer has had less than pleasant vocals and still made it on their other skills alone. One would think Taylor can too.

21) **"A-Anon"** : Previously released as the best track on his _Auto Didact_ EP, Taylor can also apparently spot good material in his own portfolio as well as that of others'. The track is included here and is a small gem. This is a song that insinuates from the beginning and continues to improve as the vocals start. Unfortunately this came from his "hide the singer" period, so the fairly good lyrics can't be deciphered easily (luckily lyrics are included, an overly abandoned touch from too many artists). Said lyrics include some good philosophizing mixed in with some trite lyrical choices, but above all the generally happy, optimistic lyrics are matched with a happy, sweet tune and work quite well. It is also interesting to note that the phrase "everything's going to be all right" is a useless phrase pulled out in some of the most awful times in one's life, yet it has the almost magical ability to soothe anyway. Perhaps it's a secret this song uses.

22) **"Getting Intimate"** : This song doesn't work well on various levels. The beat and melody never go together quite right, the lyrics take some really awful turns (if nothing rhymed with Gucci but Tucci, why not say Gucci and Prada and rhyme it with Ensenada, Dada, nada, or even intifada, any of which could make more sense). His vocals also don't add anything and sound fairly flat in places. There were far too many words for most of his musical lines and it gives the song a very slapped together feeling. The best part actually comes at the end with the energetic "Put your finger in the ring and don't look back." Good advice for the listener too, as the next song is an improvement. 

23) **"Down With U"** : This song starts out with a great beat that continues to be the best thing about it. Even when the rest of the song disappoints a bit it's hard not to want to dance to it. The lyrics also work better than the more belabored "Getting Intimate" and express much the same thing in a far catchier way. The mix and arrangement have one other advantage, giving Taylor's vocals just enough camouflage to go with the song instead of detracting from it. At the end when he sings "I'm in tune with you" he might as well be saying it about his own material.

24) **"Silent Skin"** : Another re-released track, the song has a simple, pretty tune and a mix to match. Their voices don't blend terribly well together which detracts from the lyrics, which are certainly among his best, verging on the poetic in places. Somehow, despite all the song has going for it, it falters. The break doesn't add much to it; a good one might have made the song more of a standout. Good, but soon to get better.

25) **"Fields of Eden"** : This song seemed to rapidly become a fan favorite, showing they have taste. This is probably the best song on the album. The music is lovely, the chorus rich and evocative, and the lyrics don't hurt it any, sounding relaxed and nostalgic as suits the melody. What would really have made the song, unfortunately, was a singer with a pure, strong voice to really make it perfect. The break is a bit abrupt but it doesn't completely clash with the rest of the track. It may be as good as Taylor gets at this time, but it's still pretty darn good.

26) **"Spirit of the Times"** : There is more nostalgia here, and interestingly enough, Taylor's vocals are actually an asset to this track. From the beginning, although his vocals sometimes get a bit too soft to be heard well, they blend nicely with the music, a lovely bit of aural fog and nuance. In fact this track is probably the single best example of writing, vocals and music coming together as a satisfying whole. The chorus is particularly haunting, with well chosen backing vocals. His vocals never become overly strained and wrap around some of the melody lines. The writing has some good lines, perhaps the personal relevance has something to do with it. It's not a pat track, with end spoken lines and a general unpredictability, Taylor takes some chances that will never give it radio play, but also delivers an interesting track worth listening to.

27) **"American Muse"** : This song starts stumbling from the start, borrowing from two different influences in the first line. It's also a bit strange to have this song have virtually identical lyrics as "Run Together" from his Juicy Jeans EP. The melody is passable, though derivative, but just ambles on too long without doing much, and it does nothing to add to the lyrics which are quite passable. It's not the best of choices to end the album, and should probably have been placed earlier in the album, perhaps after "To Do You". By contrast the music to "Run Together," a fast-paced song with a bit of an edge and a 70s backing track, is much more interesting. His raw, overextended vocals on that track don't particularly hurt it. In the end, neither arrangement really does the most for the lyrics, but the "Run Together" track would have been a more satisfying finale.




Taylor's release pre-dated Duran's by more than six months, yet some of the material was actually written after much that was on his old band's new release. It made the music on both tracks rather concurrent, and thus an interesting way to look at where the band's different elements were headed.

The advent of _Pop Trash_ was, as most Duran Duran releases are, a project whose day it seems will never come. However, this album was probably the first in which half the tracks were performed live and easily available prior to the album's release. In part this was due to the sharing of bootleg recordings, something not as easily done prior to the _Medazzaland_ release and wide use of the Internet. Of course, it was also due to the inevitable delays in releasing an album which was essentially complete a full year before its release.

It was, in fact, during Duran Duran's "Let It Flow" tour, which supported _Greatest_ , in which "Hallucinating Elvis", "Lava Lamp", "Someone Else Not Me" and "Pop Trash" were widely performed. This tour took place during late summer 1999, and _Pop Trash_ was not released until June 2000.

The album was also notable for being the first for the band with a different record company. Fortunately publicity was given to the band in terms of print, television, and some radio promotion. Even their endlessly delayed and problem riddled web site finally got it together in time for the U.S. release date, although it harbored little more than a look at their simple but retro-stylish video for "Someone Else Not Me".

Unfortunately, the long lead-in time failed to produce a superior album. (Perhaps, not coincidentally, some of the albums recorded and released most quickly were Duran's strongest.) _Pop Trash_ suffers from abrupt changes in musical styles throughout. It's a nice concept to have a release reflecting various genres in a single album, but a good execution is difficult to achieve. The only purpose in putting out albums versus individual singles quickly pirated from Napster, is exactly to put out a total package of sound, order, and design. The same songs in a different order might come out better, and a different mix would help many of them.

148) **"Somebody Else Not Me"** : Although a pretty enough ballad, Le Bon's earnest comments as to how high it ranks in his lyrical output seem a bit odd. There are some good turns of phrase in it, but the song is a bit strained, both lyrically and especially vocally. Le Bon sounds scratchy and stretched in too many parts, which always detracts from good lyrics, and seems rather amazing in this age of studio wizardry. In contrast to his raw vocals is the lush accompaniment, which only makes the contrast worse. This song, like many on the album, sounds rather better live where the accompaniment is pared down. This is an ideal song for an acoustic set. After all these years can't they a write a track in Le Bon's key, so those "not me"'s aren't as alarming?

149) **"Lava Lamp"** : In contrast to the previous track, this goofy track sounds better on disc. It benefits from all the drop-ins and synthesizer sound-effects. From the get-go this song sounds like fun. "Lava Lamp" captures the 60s feel in a nice, kitschy way, sounding vaguely like a cross between the Archies and Donovan. It's a lilting, cutesy tune, nothing that will go down in pop history, but a sure sign that Duran Duran can never be counted out when it comes to a catchy track and a good grasp of what pop music is. I defy anyone to listen to this several times and not have "La-la-la-la" go through their head. If cementing your name in public consciousness is what's important to stay current, someone should get this track on the radio. Even people who hate it won't be able to ignore it.

150) **"Playing With Uranium"** : A harder rock track, this is something of an abrupt jolt from the last tune, which was as poppy as they come. While still having some of that sway and dreaminess, this song pulls from different 60s influences. The lyrics are nothing special, but they are perfectly passable. The big problem with the track is that you can hardly hear the lyrics for the crash of guitars. They are perfectly serviceable, indeed a showcase for Warren Cuccurullo, but in the mix they are overwhelming. As a result the song sounds muddy and a bit of a mess.

151) **"Hallucinating Elvis"** : Another harder track, this is another case where the guitars could be toned down some, but le Bon's vocals are far clearer in this track. It's also a more interesting song in its commentary -- after all, only so many people could truly feel they are starting to walk in Elvis' shoes. The break is too heavy handed, with the vocals getting buried again. The vocal effects are fitting for this song, and the live performances show that this song has a melody and the capacity to insinuate itself in your brain (if for no other reason than the dreamy "Elvis" near the track's end). Looked at as a piece of this album, however, you couldn't go much better than this song's theme. 

152) **"Starting to Remember"** : The vocal effects on Le Bon's voice on this track make it sound as if he is singing through gauze after a dose of novacaine. (Perhaps this was an aftereffect from "Medazzaland"). It's an interesting vocal effort, quite personal and insightful, but the lyrics are totally wasted in this mix. To boot the song sounds as if it is a bit too fast and slightly out of sync with the vocals. This song actually sounds better for the accompaniment, which like "Someone Else" is the best thing about it. 

153) **"Pop Trash Movie** : While fan commentary after the Let It Flow tour supported "Someone Else" as the first single for the album, it's surprising that so many overlooked this title track. This song is gorgeous, the true heir to "Ordinary World." It has a wonderfully poignant set of lyrics, and the sweeping melody has just the right amount of hard edge to offset the sweet sway. As in "Ordinary World" the lyrics center around a sense of loss, of confusion, and emotion. If there is a problem with the track, it lies in the arrangement where, especially at the end, the guitars crash in too harshly. It also is a song where the scratchiness of le Bon's vocals don't do the song any justice. Perhaps his voice is simply deteriorating, but it is frustrating to have the vocals either buried in a heavy mix, or not up to par in a song that really should be given its all from each band member. It's particularly strange when you consider the band played this in their encore during the 1999 tour and his vocals sounded better after a long live performance than they do here.

154) **Fragment** : As in "Rose Arcana", this simply sounds like an intro to "Mars Meets Venus" and could be dispensed with. For whatever reason, the band continues to add in throwaways like this.

155) **"Mars Meets Venus"** : This song should also be on their potential singles list. It has drive and is one of the closest candidates to a dance track on the album. Its melody line moves and it has a good chorus (although it's rather reminiscent of "Big Bang Generation" in a line or two). The lyrics aren't meant to be poetry, but they're interesting and suit the song well. As Warren Cuccurullo mentioned, the melody line determines what lyrics the song needs. A message lyric would go just fine, but there's nothing wrong with this marriage. It's a song that catches your attention and has a good contribution from everyone -- guitar, vocals, and synthesizer. As such it's one of the best overall tracks from the band on this album. It's also another bit of pop expertise that Duran is known for.

156) **"Lady Xanax"** : This ballad is rather more interesting than either "Starting" or "Someone" in lyrics and core melody. It's not all that typical in its move from the simple, lovely intro, to the crash and drama of its chorus and really would be better off in a more consistent quiet mode. When that part moves, it is quite lovely. The lyrics, a more wordly version of Arcadia's "Lady Ice", goes well with the album's overall theme. Unfortunately the end result is not as successful as the former, and one wonders if "Xanax" would have been the classic 'gorgeous Duran ballad' from this album otherwise.

157) **"The Sun Doesn't Shine Forever"** : The lyrics on this track are undoubtedly the most mature le Bon has ever written, truly words that fit his age and situation. The melody is pretty enough but its lack of originality kills it. It could be a powerhouse with a good, emotional, vocal performance and a fine set of lyrics. In fact, this melody, particularly during the chorus, seems to fall into 70s cliche, much like REO Speedwagon. It's a nice homage, but it would be much better if this song found a lovely melody akin to that of "Midnight Sun" on _Medazzaland_ , to accompany a special set of lyrics. 

158) **"Kiss Goodbye"/"Last Day on Earth"** : The lovely haunting sound of the separately titled intro doesn't at all prepare one for the harsh crash of guitars that follow. The song lyrics aren't much of a loss in this track, so the fact that they are again generally buried isn't as bad. _Pop Trash_ certainly marks some of the hardest rock songs the band has ever recorded. The melody of this track is fairly good and it's an interesting contribution, but the mix doesn't help it much as a more defined sound could really make this a standout track. "Last Day" shows the same touch for melody that is Duran's greatest strength. The song is definitely a good closer for the album.

159) **"Somebody Else Not Me"** : In fact the ending of "Last Day" is one of its best parts and is rather ruined by the tacking on of foreign language versions (French or Spanish) to the album, which should have ended here. The alternative version adds nothing to the album, and would have been a good promotional choice as a bonus download from their website or MP3.




Looking at _Pop Trash_ as a whole, the one thing that seems curious is that the best, most commercial tracks on the album, do not have lyrics written by Simon le Bon, who is apparently taking less and less of a part in writing the band's lines. The band has tried to downplay this any time it is mentioned, but as le Bon's lyrical contributions and voice continue to wane on their recordings, there seems to be a more profound change going on than that of any other band member's departure. While Le Bon's role live is more important than ever, he has less to work with onstage in terms of interplay as well as energy and voice. How the band adjusts to these changes will have a great deal to do with their future success.


End file.
